Some influences of accent structure on melody recognition

Two experiments were carried out to investigate the roles of joint accent structure and familiarity in delayed recognition of relatively long tonal melodies. Melodic themes of target melodies were defined by correlating contour-related pitch accents with temporal accents (accent coupling) during an initial familiarization phase. Later, subjects gave recognition responses to key-transposed versions of the target melodies as well as to decoys with same and different contour accent patterns. In Experiment 1, all to-be-recognized melodies occurred both in an original rhythm, which preserved accent coupling, and in a new rhythm, which did not. Listeners were best at distinguishing targets from different decoys, especially in the original rhythm. In Experiment 2, the familiarity of target tunes and the rhythmic similarity in recognition were varied. Similar rhythms preserved accent coupling, whereas dissimilar rhythms did not. Listeners were most adept in distinguishing familiar targets from different decoys (Experiment 2A), particularly when they appeared in novel but similar rhythms. However, in similar rhythm conditions, listeners also frequently mistook same decoys for targets. With less familiar targets (Experiment 2B), these effects were attenuated, and performance showed general effects of pitch contour.     

Recognizing melodies: A dynamic interpretation

Two experiments explore hypotheses about rhythm and contour in recognition of simple pitch strings (melodies). Target melodies that differed with respect to pitch relationships (interval and contour pitch differences) and rhythm, were presented to ordinary listeners who were told to learn the melodies (Phase I). In a subsequent recognition test (Phase II), listeners had to recognize these same target melodies although they were transposed to a different musical key. In recognition, target melodies appeared in the original rhythm or in new rhythms that simulated some pause properties of the original rhythm. Target melodies were interspersed with decoy melodies that either preserved the pitch contour of targets or did not; all appeared in the original rhythm and in new rhythms. Results indicated that a new rhythmic context lowered recognizability of target melodies, and that decoys were most confusing when they possessed the same “dynamic shape” (contour-plus-rhythm) as targets (Experiment 1). Also, target recognition improved with Phase I familiarity (Experiment 2), although rhythmic shifts remained detrimental across levels of target familiarity. Confusions based on “dynamic shape” accounted for a relatively high proportion of errors where familiarity with targets is low. Findings were interpreted in terms of a theory of context-sensitive dynamic attending in which remembering is assumed to involve recapitulation of the original rhythmical activities involved in attending to melodies.     

The differentiation of rhythmic structure.

Listeners judged whether two five-tone nonmetric rhythms were the same or different. Each rhythm was presented one, two, or four times to study the process of perceptual differentiation. The results indicated that the listeners perceived these rhythms in terms of the grouping of the tones, and not in terms of the timing between the groups. Two rhythms that had the same perceptual grouping were judged as being identical, even if the timing between the groups was different. The perception of the groupings of tones developed gradually. If each rhythm was presented only once, then the listeners had only a global percept, focused on groups (runs) of three elements, and often judged two different rhythms as being identical. If the rhythms were presented two or four times, then the grouping of the tones became more differentiated and the listeners were less likely to judge different patterns as being identical. Thus, perception of auditory rhythmic structure appears to follow the same developmental process as the perception of visual spatial structure.     

The differentiation of rhythmic structure

Listeners judged whether two five-tone nonmetric rhythms were the same or different. Each rhythm was presented one, two, or four times to study the process of perceptual differentiation. The results indicated that the listeners perceived these rhythms in-terms.of the grouping of the tones, and not in terms of the timing between the groups. Two rhythms that had the same perceptual grouping were judged as being identical, even if the timing between the groups was different. The perception of the groupings of tones developed gradually. If each rhythm was presented only once, then the listeners had only a global percept, focused on groups (runs) of three elements, and often judged two different rhythms as being identical. If the rhythms were presented two or four times, then the grouping of the tones became more differentiated and the listeners were less likely to judge different patterns as being identical. Thus, perception of auditory rhythmic structure appears to follow the same developmental process as the perception of visual spatial structure.     

The role of melodic and temporal cues in perceiving musical meter

A number of different cues allow listeners to perceive musical meter. Three experiments examined effects of melodic and temporal accents on perceived meter in excerpts from folk songs scored in 6/8 or 3/4 meter. Participants matched excerpts with 1 of 2 metrical drum accompaniments. Melodic accents included contour change, melodic leaps, registral extreme, melodic repetition, and harmonic rhythm. Two experiments with isochronous melodies showed that contour change and melodic repetition predicted judgments. For longer melodies in the 2nd experiment, variables predicted judgments best at the beginning of excerpts. The final experiment, with rhythmically varied melodies, showed that temporal accents, tempo, and contour change were the strongest predictors of meter. The authors' findings suggest that listeners combine multiple melodic and temporal features to perceive musical meter.     

Rhythm and "good endings": effects of temporal structure on tonality judgments

The purpose of the present experiment was to investigate the influence of rhythmic structure on the perception of tonal relationships marking the end of a melody. Musically sophisticated listeners were asked to rate the degree of resolution in a set of folk tunes that varied in their tonal ending and temporal accent structure. The results indicated that melodies ending on the leading tone-to-tonic progression were judged the most complete, while the least complete were those leaving a listener "hanging" by ending on the leading tone note. These ratings, however, were influenced by the temporal accent structure of a tune. The highest degree of resolution was observed for melodies that ended "on time" through an invariant pattern of temporal/melodic accents. Accent structures that led to endings occurring earlier or later than expected resulted in significantly lower resolution ratings. The present results illustrate the need to incorporate dynamic pattern influences into models of tonal perception.     

Rhythm and “good endings”: Effects of temporal structure on tonality judgments

The purpose of the present experiment was to investigate the influence of rhythmic structure on the perception of tonal relationships marking the end of a melody. Musically sophisticated listeners were asked to rate the degree of resolution in a set of folk tunes that varied in their tonal ending and temporal accent structure. The results indicated that melodies ending on the leading tone-to-tonic progression were judged the most complete, while the least complete were those leaving a listener “hanging” by ending on the leading tone note. These ratings, however, were influenced by the temporal accent structure of a tune. The highest degree of resolution was observed for melodies that ended “on time” through an invariant pattern of temporal/melodic accents. Accent structures that led to endings occurring earlier or later than expected resulted in significantly lower resolution ratings. The present results illustrate the need to incorporate dynamic pattern influences into models of tonal perception.     

The formation of rhythmic categories and metric priming

Two experiments on categorical rhythm perception are reported, the object of which was to investigate how listeners perceive discrete rhythmic categories while listening to rhythms performed on a continuous time scale. This is studied by considering the space of all temporal patterns (all possible rhythms made up of three intervals) and how they, in perception, are partitioned into categories, ie where the boundaries of these categories are located. This process of categorisation is formalised as the mapping from the continuous space of a series of time intervals to a discrete, symbolic domain of integer-ratio sequences. The methodological framework uses concepts from mathematics and psychology (eg convexity and entropy) that allow precise characterisations of the empirical results. In the first experiment, twenty-nine participants performed an identification task with 66 rhythmic stimuli (a systematic sampling of the performance space). The results show that listeners do not just perceive the time intervals between onsets of sounds as placed in a homogeneous continuum. Instead, they can reliably identify rhythmic categories, as a chronotopic time clumping map reveals. In a second experiment, the effect of metric priming was studied by presenting the same stimuli but preceded with a duple or triple metre subdivision. It is shown that presenting patterns in the context of a metre has a large effect on rhythmic categorisation: the presence of a specific musical metre primes the perception of specific rhythmic patterns.     

Maximum key-profile correlation (MKC) as a measure of tonal structure in music

Tonal structure is musical organization on the basis of pitch, in which pitches vary in importance and rate of occurrence according to their relationship to a tonal center. Experiment 1 evaluated the maximum key-profile correlation (MKC), a product of Krumhansl and Schmuckler’s key-finding algorithm (Krumhansl, 1990), as a measure of tonal structure. The MKC is the maximum correlation coefficient between the pitch class distribution in a musical sample and key profiles,which indicate the stability of pitches with respect to particular tonal centers. The MKC values of melodies correlated strongly with listeners’ ratings of tonal structure. To measure the influence of the temporal order of pitches on perceived tonal structure, three measures (fifth span, semitone span, and pitch contour) taken from previous studies of melody perception were also correlated with tonal structure ratings. None of the temporal measures correlated as strongly or as consistently with tonal structure ratings as did the MKC, and nor did combining them with the MKC improve prediction of tonal structure ratings. In Experiment 2, the MKC did not correlate with recognition memory of melodies. However, melodies with very low MKC values were recognized less accurately than melodies with very high MKC values. Although it does not incorporate temporal, rhythmic, or harmonic factors that may influence perceived tonal structure, the MKC can be interpreted as a measure of tonal structure, at least for brief melodies.     

节律在听觉言语理解中的作用

言语理解是听者接受外部语音输入并且获得意义的心理过程。日常交流中, 听觉言语理解受多尺度节律信息的影响, 常见有韵律结构节律、语境节律、和说话者身体语言节律三方面外部节律。它们改变听者在言语理解中的音素判别、词汇感知以及言语可懂度等过程。内部节律表现为大脑内神经振荡, 其能够表征外部言语输入在不同时间尺度下的层级特征。外部节律性刺激与内部神经活动的神经夹带能够优化大脑对言语刺激的处理, 并受到听者自上而下的认知过程的调节进一步增强目标言语的内在表征。我们认为它可能是实现内外节律相互联系并共同影响言语理解的关键机制。对内外节律及其联系机制的揭示能够为理解言语这种在多层级时间尺度上具有结构规律的复杂序列提供了一个研究窗口。     

Does rule recursion make melodies easier to reproduce? If not, what does?

Two experiments examined the effects of variations in melodic rule structure and rhythm upon the ability of musically sophisticated listeners to reproduce auditory patterns. These experiments were designed to evaluate different theoretical perspectives on auditory pattern perception and the role of rule structure in perceiving and remembering. Predictions of a coding model, which emphasizes the impact of rule recursion, were contrasted with those of an accent model, which emphasizes the relative timing of melodic and temporal accents. Effects of recursive (hierarchical) and nonrecursive (linear) rule arrangements were studied in contexts where pattern contour differences were controlled for. Rhythm was also varied. Measured pauses were inserted between certain tones to make a rhythm compatible or incompatible with melodic rule phrases. Experiment 1 showed that pattern simplicity was determined not by rule recursive codes, but by the number and timing of contour changes and melodic rule breaks. Experiment 2 examined additional effects of rhythm on listeners' response to rule recursion and melodic phrasing in melodies of equivalent contour. Although modest effects of rule recursion appeared, these effects were again outweighed by large performance differences due to the relative timing of changes in contour and melodic rule structure. Implications of the accent model for dynamic attending are discussed in the context of a new proposal involving temporal phasing of accents.     

Categorical perception of rhythmic patterns

Summary In this study the task of the subject is to identify a rhythm which is a member of a set of patterns interpolated between two rhythms: One rhythm in a 6/8 and the other in a 4/4 metrum. The subjects first learn the one-to-one association of the different patterns with a numerical label. They then perform a complete identification experiment. One complication of the task is that the tempo varies randomly from trial to trial. The identification matrix is analyzed in terms of discriminability of neighboring rhythmic patterns. Two questions are of interest. First, whether variations within a rhythmic category can be discriminated better than chance and second, whether the discrimination function is nonmonotonic, with a peak at the boundary between the rhythms. The results indicate that the answer to both questions is positive.     

Familiarity overrides complexity in rhythm perception: a cross-cultural comparison of American and Turkish listeners

Despite the ubiquity of dancing and synchronized movement to music, relatively few studies have examined cognitive representations of musical rhythm and meter among listeners from contrasting cultures. We aimed to disentangle the contributions of culture-general and culture-specific influences by examining American and Turkish listeners' detection of temporal disruptions (varying in size from 50-250 ms in duration) to three types of stimuli: simple rhythms found in both American and Turkish music, complex rhythms found only in Turkish music, and highly complex rhythms that are rare in all cultures. Americans were most accurate when detecting disruptions to the simple rhythm. However, they performed less accurately but comparably in both the complex and highly complex conditions. By contrast, Turkish participants performed accurately and indistinguishably in both simple and complex conditions. However, they performed less accurately in the unfamiliar, highly complex condition. Together, these experiments implicate a crucial role of culture-specific listening experience and acquired musical knowledge in rhythmic pattern perception.     

The interaction of stimulus and reinforcer control in complex temporal discrimination.

Six pigeons were trained in a discrete-trials signal-detection procedure to discriminate between a fixed-duration stimulus (5 s or 20 s) and a set of variable durations ranging from 2.5 s to 57.5 s in steps of 5 s. For each fixed-duration stimulus, the ratio of reinforcer frequencies contingent upon reporting the fixed versus the variable stimulus was systematically manipulated. Detection performance was well controlled by both the stimulus value and the reinforcer ratio. Both the discriminability between the fixed duration and the set of variable durations, and the discriminability between the fixed duration and each of the variable durations, were independent of the reinforcer-frequency ratio when discriminability was measured as log d. The sensitivity of response bias to reinforcement-ratio changes was independent of the value of the fixed duration, but was not independent of the discriminability of the variable durations from the fixed durations. Under current models, discriminability measures in complex temporal discrimination may be independent of biasing manipulations, but bias measures are not independent of stimulus values.     

Infants use meter to categorize rhythms and melodies: implications for musical structure learning

Little is known about whether infants perceive meter, the underlying temporal structure of music. We employed a habituation paradigm to examine whether 7-month-old infants could categorize rhythmic and melodic patterns on the basis of the underlying meter, which was implied from event and accent frequency of occurrence. In Experiment 1, infants discriminated duple and triple classes of rhythm on the basis of implied meter. Experiment 2 replicated this result while controlling for rhythmic grouping structure, confirming that infants perceived metrical structure despite occasional ambiguities and conflicting group structure. In Experiment 3, infants categorized melodies on the basis of contingencies between metrical position and pitch. Infants presented with metrical melodies detected reversals of pitch/meter contingencies, while infants presented with non-metrical melodies showed no preference. Results indicate that infants can infer meter from rhythmic patterns, and that they may use this metrical structure to bootstrap their knowledge acquisition in music learning.     

Harmonic and rhythmic influences on musical expectancy

The effects of harmony and rhythm on expectancy formation were studied in two experiments. In both studies, we generated musical passages consisting of a melodic line accompanied by four harmonic (chord) events. These sequences varied in their harmonic content, the rhythmic periodicity of the three context chords prior to the final chord, and the ending time of the final chord itself. In Experiment 1, listeners provided ratings for how well the final chord in a chord sequence fit their expectations for what was to come next; analyses revealed subtle changes in ratings as a function of both harmonic and rhythmic variation. Experiment 2 extended these results; listeners made a speeded reaction time judgment on whether the final chord of a sequence belonged with its set of context chords. Analysis of the reaction time data suggested that harmonic and rhythmic variation also influenced the speed of musical processing. These results are interpreted with reference to current models of music cognition, and they highlight the need for rhythmical weighting factors within the psychological representation of tonal/pitch information.     

Perceiving the end: effects of tonal relationships on melodic completion

Two experiments examined listeners' sensitivity to the structural markers of melodic completion. In Experiment 1, both musicians and nonmusicians were asked to rate the ending of folk melodies for their degree of "completeness" and "tonal appropriateness." Results showed that melodies ending with the conventional leading tone-to-tonic progression were rated the most complete and tonally appropriate to the underlying key, more so than melodies ending with the submediant-to-tonic or the tonic-to-dominant progressions. Conversely, melodies ending on the leading tone seemed the most incomplete and tonally inappropriate. In Experiment 2, the perceptual salience of certain pitch functions was enhanced significantly by the pattern of rhythmic accentuation within a melody's context and the presence of the rare tritone interval. The results illustrate an interactive influence of pitch and temporal variables on musical perception and thereby highlight the need to incorporate dynamic pattern factors into internal representations of tonality.     

Perceiving speech rhythm in music: Listeners classify instrumental songs according to language of origin

Recent evidence suggests that the musical rhythm of a particular culture may parallel the speech rhythm of that culture’s language (Patel, A. D., & Daniele, J. R. (2003). An empirical comparison of rhythm in language and music. Cognition, 87, B35-B45). The present experiments aimed to determine whether listeners actually perceive such rhythmic differences in a purely musical context (i.e., in instrumental music without words). In Experiment 1a, listeners successfully classified instrumental renditions of French and English songs having highly contrastive rhythmic differences. Experiment 1b replicated this result with the same songs containing rhythmic information only. In Experiments 2a and 2b, listeners successfully classified original and rhythm-only stimuli when language-specific rhythmic differences were less contrastive but more representative of differences found in actual music and speech. These findings indicate that listeners can use rhythmic similarities and differences to classify songs originally composed in two languages having contrasting rhythmic prosody.     

Recognition of notated melodies by possessors and nonpossessors of absolute pitch

Musically trained listeners compared a notated melody presented visually and a comparison melody presented auditorily, and judged whether they were exactly the same or not, with respect to relative pitch. Listeners who had absolute pitch showed the poorest performance for melodies transposed to different pitch levels from the notated melodies, whereas they exhibited the highest performance for untransposed melodies. By comparison, the performance of melody recognition by listeners who did not have absolute pitch was not influenced by the actual pitch level at which melodies were played. These results suggest that absolute-pitch listeners tend to rely on absolute pitch even in recognizing transposed melodies, for which the absolute-pitch strategy is not useful.     

Recognition of notated melodies by possessors and nonpossessors of absolute pitch

Musically trained listeners compared a notated melody presented visually and a comparison melody presented auditorily, and judged whether they were exactly the same or not, with respect to relative pitch. Listeners who had absolute pitch showed the poorest performance for melodies transposed to different pitch levels from the notated melodies, whereas they exhibited the highest performance for untransposed melodies. By comparison, the performance of melody recognition by listeners who did not have absolute pitch was not influenced by the actual pitch level at which melodies were played. These results suggest that absolute-pitch listeners tend to rely on absolute pitch even in recognizing transposed melodies, for which the absolute-pitch strategy is not useful.